Merging heterogeneous elements into a new identity has always been one of my compositional concerns. That is, I still value free-tonal harmony and rhythms pulsating over long stretches, even if both are repeatedly confronted and thus broken up by the sound potential of extended instrumental techniques. In many of my pieces, I trace an interweaving of traditional means of composition with experimental sounds.

The saxophone – once a musical “migrant” in the world of classical music, now established in contemporary music as well as in the entertainment and commercial scenes – still holds its status as a musical “border crosser” by representing different worlds of sound. This is actually rather beneficial since it can tear down barriers, connect opposites and build bridges (provided that it hasn’t been overly “assimilated” and thus deprived of its original identity).